Да си призная честно, дори не съм и дръзвал да допусна подобен въпрос в главата си. И не случайно. Майка ми, бе възпитаничка на големия музикален педагог Тамара Янкова. Тя обожаваше класическата музика и свиреше виртуозно на пиано. Притежаваше огромна фонотека, набавена предимно от чужбина.  От ранното си детство бях приучаван от нея да прослушвам всевъзможни плочи с произведения на предкласиката и класиката. За музикалната култура, която тя ми даде, ще съм й винаги задължен. Моцарт бе сред любимите й композитори. И макар той никога да не стана и мой любим композитор, изпитвах преклонение пред неговата несъмнена гениалност. Да не забравяме, че тримата най-плодовити композитори за всички времена са Йохан Себастиан Бах, Йозеф Хайдн и Волганг Амадеус Моцарт. Но докато Бах умира на 65 годишна възраст, а Хайдн на 77 годишна възраст, то Моцарт умира твърде млад - на 35 годишна възраст. Огромното му по количество творчество прави трудно обяснимо, дори и от чисто техническа гледна точка, как въобще е могло да бъде записано за толкова кратък интервал от време. Моцарт е композитор, обладаващ т.нар. абсолютен музикален слух /такъв впрочем е имал и Бетховен/. Той е можел да оркестрира творбите си наум. Особено показателен случай в това отношение е неговият 21-ви концерт в до мажор, написан и оркестриран само за една нощ - творба, с която би могъл да се гордее всеки композитор. Втората част на тази творба /аndante/ днес съставлява един от най-знаменитите Моцартови шлагери. Тя твърде често бива пускана по най-различни радиа. Друг такъв Моцартов шлагер е 1-вата част на знаменитата му 40-та симфония g-moll. Някои неизкушени в музиката любители често я бъркат с Малка нощна музика на същия композитор. На няколко пъти ми се е случвало да се сблъсквам с подобни екземляри, като в единият от тях се стигна до истински конфуз, защото лицето в продължение само на половин час сбърка два пъти въпросните мелодии! Други знаменити Моцартови шлагери, днес озвучаващи масово дори джиесеми, са Котешкият и Турският марш на Моцарт. А какво да кажем за елегантната му 8-ма соната - едно върховно естетическо изящество! Венец на Моцартовите шлагери е една част от знаменития му Реквием /последната композиция на гения/, известна като Лакримоза.
        За Моцарт няма тайни в музиката. Той твори в абсолютно всички музикални жанрове, при това с голям успех: серенади, сонати, симфонии, опери и пр. Музикален вундеркинд, малкият Амадеус дължи музикалното си образование изцяло на своя баща Леополд Моцарт - вещ музикален педагог
и добър композитор, обучил на музикално изкуство и сестрата на Моцарт - Нанерл. Вън от съмнение е, че точно Моцарт е еталонът за музикален гений, а може би и за гений въобще. Не мога да си представя, че на Земята съществува някой, който би поставил под съмнение Моцартовата гениалност. Тук добавям, че самият Алберт Айнщайн е обожавал Моцарт и заради него се е научил да свири на цигулка. За съжаление в романа на Дейвид Вайс "Възвишено и земно" е извършено най-лошото. Под формата на биографичен и романтичен очерк за Моцарт, същият е представен в напудрен, силно идеализиран и безкрайно захаросан вид - като идеално същество без слабости. Уви, човекът Моцарт е имал редица слабости и в никакъв случай не е бил приятна и привлекателна личност. Може смело да се каже, че неговата същност има своите демонични нотки, а битуващата сред мнозинството от музикални любители версия, че Моцарт е бил отровен от завистливия Салиери, е изцяло продукт на Пушкиново преувеличение. Салиери е бил дълбоко религиозен и талантлив композитор и е малко вероятно да е изпитвал силна завист към Моцарт.
        За пръв път почувствах какъв е бил реалният, а не хиперболизираният Моцарт, когато прочетох изследователския етюд на Георгий Чичерин, озаглавен "Моцарт". Дворянин по потекло, Чичерин е оставен жив от болшевиките, когато те идват на власт, за да им служи, защото тези презряни простаци не са разполагали с културни кадри. Чичерин е обожавал Моцарт и грижливо е изследвал неговото житие и битие. След прочита на неговия труд, гледах и филма на Милош Форман "Амадеус". Той затвърди представата ми за Моцарт, получена от Чичерин - далеч не розова! Всъщност може да се приеме за вярна хипотезата, че Моцарт е страдал от болестта на Жил де ла Турет. Склонността му към игра на думи, манията му към часовници и механизми, тиковете с които е бил известен, както и прословутото му сквернословие, затвърждават това убеждение.
        В семейството на Леополд Моцарт, често идват на гости музиканти и композитори. Те съставляват душата на прелестни вечери, омагьосали въображението на малкия Амадеус. И най-важното се състои в това, че вундеркиндът се е нуждаел от божествен музикален тласък. Нуждаел се е от това да приеме в себе си нещо, което да превъплъти в свой собствен стил, а защо не и да го заимства наготово като една матрица. С една дума да се възползва от изключителното си чувство за пластична адаптация! Точно тогава, случайно или не, се появяват композиторите: Йохан Готфрид Екарт /1735 - 1809/, Йохан Шоберт /1740 - 1767/, Леонци Хонауер /1735 -?/, Херман Фридрих Раупах /1728 - 1778/. Гостувайки на сем. Моцарт, те са носили свои току-що издадени произведения, предимно сонати, изпълнявани от Амадеус и Нанерл. Част от тези произведения са произвели огромно впечатление у малкия Моцарт и вероятно по съвет на своя баща, а и възможно с негова асистенция, 11 годишният Амадеус ги преработва в своите знаменити 4 концерта за клавесин с оркестър. Именно Шоберт, Хонауер и Раупах са главните подбудители и вдъхновители за тези изящни концерти. Горещо препоръчвам на читателите да ги чуят в изпълнението на виртуоза Алексей Любимов и под диригентството на Лев Маркиз.
        Огромно влияние върху Амадеус имала музиката на Йохан Шоберт. Не искам да се изсилвам, но именно стилът на този композитор малкият Моцарт вселява в себе си. Тази музика сякаш му взема ума и буквално го омагьосва. Шоберт се установява в Париж през 1762, ставайки придворен изпълнител на клавесин на принц Конти, а между ноември 1763г. и март 1764г. Моцартови са също в Париж. Тогава и става запознаването. През 1778г.  Моцарт пише своята знаменита 8-ма соната /по каталога на Кьохел: a-moll, KV 310/. Във втората й част той почти буквално копира първата част - Andante poco allegro, на 2-ра соната на Шоберт. Но Шоберт отдавна е мъртъв. На 28 август 1767г. той, съпругата му /французойка/ и едно от техните /две/ деца, умират при отравяне с гъби. Интересно е, че 11-годишният Моцарт във втората част на своя клавирен концерт -  KV35  по каталога на Кьохел, отново използва за първооснова цитираната част от творбата на Шоберт. Особено любопитно е, че когато прослушаме знаменито andante от 21-ви концерт в до мажор на Моцарт /за тази част вече говорихме по-горе/, след като преди това сме прослушали Andante от 2-ра соната на Шоберг, ние ще осъзнаем, че нищо в музиката не се пръква от нищото, дори и при най-големите гении. И не е ли удивително, че днес почти никой не изпълнява тази соната на Шоберт?
       Научавайки за всичко това, си поставих за цел да установя, дали и в други случаи Моцарт не е заимствал от творчеството на други композитори. Искам дебело да подчертая, че по онова време е имало конвенция за допустимост на подобни заемки, особено когато те са били оповестявани в явен вид и се е касаело за вариации по дадени теми. Моите търсения се увенчаха с известен успех, което не скривам ме огорчи, защото разбрах за сетен път известната максима, че и на слънцето има петна. В K18 - симфония в Eb на австрийския композитор Карл Фридрих Абел /1723 - 1787/ Моцарт заменя обои с кларинети, вероятно по време на престоя си в Лондон през 1764г.

ЕСЕТО МИ СВЪРШВА ТУК!!!

П.П. Темата Моцарт е неизчерпаема, но аз предоставям щедро базата данни, която открих, озаглавима: Not by Mozart, на любознателните читатели по-долу, още повече, че тези данни са вече надлежно изтрити от лица заинтерисовани те да не получат масово разпространение. Желая приятно запознаване по същество с фактите на онези от вас, които проявяват допълнителен интерес:


K17 - Symphony in Bb
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> Composer: Probably Leopold Mozart (1719 – 1787)
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> Remarks: André assigned to 1760s; Köchel placed during London trip of 1764-65 but expressed reservations on authenticity. St.Foix stated because of "archaic and forced character" perhaps a composition of Leopold copied out by Wolfgang. That idea rejected by K3 and K6. However recently Cliff Eisen shows on documentary grounds it is probably by Leopold Mozart.
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> Other K Nrs: K3 = Anh.223a; K6 = Anh.C11.02
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> Recordings:
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> · MCA Classics (MCAD2-9808) Philharmonic Symphony Orchestra of London—Erich Leinsdorf conductor
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> · Naxos (8.55087) Northern Chamber Orchestra—Nicholas Ward conductor.
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> K18 - Symphony in Eb
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> Composer: Karl Friedrich Abel (1723 – 1787)
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> Remarks: Mozart copied out Abel's symphony Op.7/6 probably in 1764 during his London stay, replacing Oboes with Clarinets.
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> Other K Nrs.: K3 = Anh.109i; K6 = Anh.A51
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> Recordings:
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> · MCA Classics (MCAD2-9808) Philharmonic Symphony Orchestra of London—Erich Leinsdorf conductor
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> · Naxos (8.55087) Northern Chamber Orchestra—Nicholas Ward conductor.
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> K44 - Antiphon "Cibavit eos"
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> Composer: Johann Stadlmayr (ca.1575 – 1648)
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> Remarks: Mozart copied first and part of third section of the Intoitus to the Corpus Christi Fest from "Musica super cantum gregorianum" of Stadlmayr, most likely in Salzburg 1768/69.
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> Other K.Nrs: K3 & 6 = K073u
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> Recordings: Philips Complete Mozart Edition v.20
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> K46 - String Quintet in Bb
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> Composer: Unknown arranger
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> Remarks: Arrangement of movements 1,2,3,7 from "Gran Partitta" K361. Copy headed by Aloys Fuchs "for 2 Violins, 2 Violas, Cello, composed by Wolfgang Amadeus Mozart in Salzburg on January 25, 1768". Later arrangement of K361.
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> Other K.Nrs.: K6 = Anh B to K361/K370a
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> Recordings: Westminister LP, Barylli Quartet with Wilhelm Hubner.
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> K52 - Song "Daphne, deine Rosenwangen"
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> Composer: (arranger) Leopold Mozart (1719 – 1787)
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> Remarks: Transcription of the Aria Nr.11 "Meiner Liebsten schone Wangen" from Bastien und Bastienne" as Piano Lieder.
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> Other K.Nrs: K3 & 6 = 46c
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> Recordings: None
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> K55 thru K60 - Sonatas for Piano and Violin in F, C, F, Eb, c, e
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> Composer: Unknown
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> Remarks: Constanze Mozart sent manuscripts of Sonatas to B & H, published in 1803. Wyzewa/St.Foix thought them composed between November 1772 to March 1773 in Mozart's "Great Romantic Crisis". Einstein doubted authenticity, believed them composed by Joseph Schuster, later this shown to be wrong. Wolfgang Plath showed they had nothing to do with Mozart.
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> Other K.Nrs.: K3 = Anh 209d-209h; K6 = Anh. C23.01-23.06
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> Recordings:
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> · Solstice (SOCD 44) Philip Bride–violin, Desire N'Kaoua–piano
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> · MDG (620 0804-2) Anton Steck–violin, Robert Hill–piano.
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> K61 - Sonata for Piano and Violin in A
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> Composer: Herman Freidrich Raupach (1728 – 1778)
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> Remarks: Published in B & H 1804 “Oeuvres Complettes”; had been in Baron Taddaus von Dürnitz collection, mistakenly thought to be by Mozart.
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> Other K.Nrs.: K3 = Anh.290a; K6 = Anh. C23.07
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> Recordings: None
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> K64 - Menuet for Orchestra in D
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> Composer: Leopold Mozart (1719 – 1787)
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> Remarks: From the manuscript in Leopold’s hand (thought to be Wolfgang autograph by André) it appears writer and composer one and the same.
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> Other K.Nrs: None
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> Recordings: None
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> K91- Kyrie in D
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> Composer: Georg Reutter (1708 – 1772)
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> Remarks: Mozart’s copy for 4 voices, Violins and Organ of fugal ending of Kyrie from Reutter Mass (Hofer Nr. 80). Copy not completed by Mozart, but by Maximilian Stadler. Mozart’s copy appears to date from Dec. 1787 to Feb. 1789.
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> Other K. Nrs: K3 & 6 = 186i
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> Recordings: Philips Complete Mozart Edition v.20
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> K92 - Salve Regina
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> Composer: Possibly Leopold Mozart?
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> Remarks: Music the same as Benedictus from Mass in C K.Anh C1.20; music given text of Salve Regina by unknown arranger. Mass C1.20 originally attributed to Wolfgang, then Leopold. Recently found sources attribute to Franz Brixi.
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> Other K. Nrs: K3 = Anh 186c; K6 = Anh C3.01
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> Recordings: Guild (GMCD 7231) Georgian Chamber Orchestra Ingolstadt, Franz Hauk conducting.
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> K93 - Pslam “De profundis” in c-minor
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> Composer: Carl Georg Reutter (1708 – 1772)
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> Remarks: Mozart’s continuo reduction with voice of De profundis by Reutter for 4 voices, 2 Violins, Bass, Organ. Paper used dates from Mozart’s later years.
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> Other K. Nrs: K6 = Anh.A 22
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> Recordings:
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> · Abbey (LPB 773, LP) Sinfonia of St. Bartholomew
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> · Vox (CDX 5055) Chorus & Orchestra of the Vienna Volksoper
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> K98 - Symphony in F
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> Composer: Unknown
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> Remarks: Known only to K1 in 2-piano arrangement, vouched for by Aloys Fuchs; published for orchestra by AMA. Since Abert thought doubtful on stylistic grounds. A copy in Weyern attributed to “signore Haydn”. However Franz Joseph and Michael Haydn scholars declare not by either.
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> Other K. Nrs: K3 = Anh.223b, K6 = Anh. C11.04
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> Recordings: None
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> K104 - Six Menuets for Orchestra
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> Composer: Michael Haydn (1737 – 1806)
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> Remarks: Actually copies of 3 dances from MH deest, 2 from MH 135 and one from MH 136. Apparently composition exercise. Mozart modified wind parts, adding or omitting instruments.
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> Other K.Nrs: K3 & 6 = 061e
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> Recordings: Philips Complete Mozart Edition v.6
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> K105 - Six Menuets for Orchestra
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> Composer: Michael Haydn (1737 – 1806)
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> Remarks: Actually copies of 6 dances from MH deest (different than MH deest used in K104) copied out by Mozart; possibly copied by Nannerl Mozart and Johann Baptist Schiedenhofen with additions by Wolfgang.
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> Other K.Nrs: K3 & 6 = 61f
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> Recordings: Philips Complete Mozart Edition v.6
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> K106 - Overture and 3 Contredances
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> Composer: Unknown
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> Remarks: Originally thought to be composed in 1770, Wyzewa/St.Foix changed dating to 1790 and K3 followed. Believed spurious on stylistic grounds.
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> Other K.Nrs: K3 & 6 = 588a
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> Recordings:
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> · Philips Complete Mozart Edition v.6
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> · Preludio (PHC3142) Paul Angerer and his Soloists
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> K115 - Missa brevis in C
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> Composer: Leopold Mozart (1719 – 1787)
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> Remarks: Manuscript for Voices and Organ complete in Kyrie, Gloria, Credo, breaks off in 9th measure of Sanctus. Originally thought to be Mozart autograph and dated beginning of 1770s. Later moved to late summer 1773 Vienna, then by Einstein to early summer 1773 in Salzburg. In 1970s found to be voice/continuo reduction of Leopold Mozart Mass in C (Sieffert IX/2) from 1764. Autograph lost but probably by Leopold Mozart.
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> Other K. Nrs: K3 & 6 = 166d
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> Recordings:
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> · Balkanton (10264, LP) Bulgarian a cappella choir; Georgi Robev,
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> · Melodya (33C01256-60, LP) A. Opnos;
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> · Koch Schwann (313028) Roland Bader conducting Berlin Domkapelle— (Complete Leopold Mozart Missa Solemnis)
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> . Carus (83.354) Johannes Prinz conducting Wiener Kammerchor
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> K116 - Missa brevis in F
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> Composer: Leopold Mozart (1719 – 1787)
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> Remarks: K1 believed fragment belonged in 1771 from character of writing similarities to K115. Einstein doubted manuscript Wolfgang’s autograph, but thought Leopold Mozart’s. Also questioned if work was W.A. Mozart’s but kept it in main section of K3, moved to early summer 1771, stating it was the fruit of the contrapuntal studies of Eberlin and Michael Haydn music. Plath brought K116/90a and other fragment/sketchs thought to be by W.A. Mozart together to show all formed a Mass in F of Leopold Mozart. These K6 numbers are:
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> · Kyrie = K090a; 34 measures
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> · Gloria “Et in terra” = K.Anh A18}
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> · Gloria “Quoniam” = K417B} = Total Gloria 136 measures
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> · Gloria “Cum Sancto” = K.Anh A019}
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> · Credo “Patrem omni” = K090a; 10 measures.
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> As André in his Manuscript Catalogue noted Mass complete to the words “sadet ad decorum patris” (i.e. “sedet ad dexteram Patris”), large part of Credo still missing.
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> Other K.Nrs: K3 & 6 = 90a
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> Recordings: None
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> K122 - Menuet in Eb
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> Composer: Possibly Joseph Starzer (1726 – 1787) or Florian Deller (1729 – 1787)
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> Remarks: In Mozart’s hand, written out and sent to Salzburg in a letter from Italy. Once thought to be “Pick” Menuet from letter of March 27/28, 1770. However recently this disputed.
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> Other K. Nrs: K3 & 6 = 73t
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> Recordings:
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> · Philips Complete Mozart Edition v.6
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> · Preludio (PHC3142) Paul Angerer and his Soloists
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> K140 - Missa brevis in G
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> Composer: Mozart?, Matthias Kracher? (1752 – ?)
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> Remarks: Otto Jahn doubted authenticity on stylistic grounds. K1 included Mass as it was vouched for by both André and Fuchs; however after being informed of a copy attributing Mass to F.X.Süssmayr, Köchel marked for removal and it was excluded from K2 to K6. However in 1959 set of parts found in Augsburg by Salzburg copyist with entries by W.A. Mozart and Leopold Mozart. Believed by NMA to be authentic Mozart. Some music in Gloria, Credo and Santus identical to numbers in Ballet music to “Le gelosie del serraglio” and to “Ascanio in Alba” leading Wolfgang Plath to question if it may be a “parody” Mass. Neal Zaslaw believes could be attributed to Matthias Kracher.
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> Other K. Nrs: K3 = Anh 235d; K6 = Anh C1.12
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> Recordings:
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> · EMI (764023-2) Collegium Cartusianum–Peter Neumann
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> · Philips (422264-2) Rundfunk-Sinf. Orchestra Leipzig–Hebert Kegel
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> · Teldec (3984-23569-2) Concentus musicus Wien–Nikolaus Harnoncourt
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> · Musica Bavarica (MB75110) Convivium Musicum Munich–Schmidt-Gaden (Version with 2 Horns)
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> · Philips Complete Mozart Edition v.19
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> K142 - Tantum ego
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> Composer: Johann Zach (1699 – 1773)
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> Remarks: Possibly Mozart’s copy of Tantum ego of Zach, slightly reinstrumented by Mozart, and an “Amen” added.
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> Other K Nrs: K3 = Anh 186d; K6 = Anh C3.04
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> Recordings:
>
> Philips Complete Mozart Edition v.45
>
> Teldec (4509-98928-2) Concentus musicus Wien–Nikolaus Harnoncourt conducting.
>
>
>
>
>
> K149 - Song "Die grossmutige Gelassenheit"
>
> K150 - Song "Geheime Liebe"
>
> Composer: Leopold Mozart (1719 – 1787); (Words by J. C. Gunther)
>
> Remarks: Originally described by Jahn (along with K151) as “.simple lieder with clavier accompaniments that belong to the earlier Salzburg era,” and as “pedantic.” The autographs in the Linz and Budapest libraries are in Leopold Mozart’s handwriting and K6 places them as composed in Salzburg 1772. Alfred Einstein however questioned whether they were Wolfgang’s work or not. Ernst August Ballin identified them almost 40 years ago as being Leopold’s, as the surviving manuscripts are in his hand, and no evidence exists anywhere to show that they were copies of a work by Wolfgang.
>
> Other K.Nrs: K3 & 6 = 125d (K149); K3 & 6 = K125e (K150)
>
> Recordings: Phlips Complete Mozart Edition v.24–Elly Ameling
>
>
>
>
>
> K151 - Song "Die Zufriedenheit im niedrigen Stande"
>
> Composer: Leopold Mozart (1719 – 1787); (Words by F. R. L. von Canitz)
>
> Remarks: The same as stated for K149-150. Leopold’s autograph is in the Linz library. However, the melody here in K151 reminds some of the vaudeville finale to “Die Entführung.”
>
> Other K.Nrs: K3 & 6 = 125f
>
> Recordings: Phlips Complete Mozart Edition v.24–Elly Ameling
>
>
>
>
>
> K152 - Canzonetta "Ridente la calma"
>
> Composer: Josef Myslivecek (1737 – 1781); (Text by ?)
>
> Remarks: First printed in B & H “OEvrues Complettes” (1799) in piano reduction with German text “Der des Friedens” of Daniel Jäsimilaritiesger. The piano reduction may be by Mozart; no autograph exists. K1 placed it in 1772; K3 switched to 1775, citing its buffo similiarities to K209 and K210. Wyzewa/St.Foix (and later Flothuis) showed this is a piano arrangement of Soprano Aria “Il mio caro bene attendo sospiro” of Myslivecek, probably from 1773-74. However, K6 also states that Bernard Paumgartner placed this song in connection with an aria by Cimarosa entitled "Bel nume che adoro", most likely as a piano arrangement. Thus, we may have a Mozart copy of a borrowing by Myslivecek of an original by Cimarosa.
>
> Other K.Nrs: K3 & 6 = 210a
>
> Recordings:
>
> · Preludio (2152) Luigi Alva
>
> · Arkadia (138.1) Ernesto Palacio
>
> · Arion (68161) Ana Maria Miranda
>
> · Musicales Actes Sud (210002) Ensembles Vocaus
>
> · EMI (763702-2) Elisabeth Schwarzkopf
>
> · Capriccio (10098) Mitsuko Shirai
>
> · Etcetera (KTC1035) Roberta Alexander
>
> · Philips Complete Mozart Edition v.24 – Elly Ameling
>
>
>
>
>
> K177 - Offertorium sub exposito venerabili
>
> K342 - Chorus “Benedicite, angeli”
>
> Composer: Leopold Mozart (1719 – 1787)
>
> Remarks: K1 only knew Soprano/Tenor Duet “Ut cervus per juga” (K177), attributed to W.A. Mozart from inscription on set of parts in Munich. Dated this 1773 according to its musical style. “Chorus “Benedicite, Angeli” known in published set of parts. Dated by K1 1780 from the character of the composition. AMA (1877) combined two pieces into one after discovery of full score in Munich estate; thus K342 eliminated in K2. Copies in Ottobeuren and Salzburg later found attributed to Leopold Mozart.
>
> Other K.Nrs: K3 = Anh 240a and Anh 240b; K6 = Anh C3.09
>
> Recordings: Haydn Society (AS-34–LP) Felix Raugel conducting L’Anthologie Sonore (K342 only)
>
>
>
>
>
> K187 - Divertimento for 2 Flutes, 5 Trumpets, 4 Timpani in C
>
> Composer: Christoph Willibald Gluck (1714 – 1787) and Joseph Starzer (1726 – 1787)
>
> Remarks: Of the 9 known pieces in this Divertimento (#6 is lost), 4 are arrangements from Gluck opera and 5 from Joseph Starzer suite. Handwriting of 8 pieces by Leopold Mozart, one (#8) in Wolfgang’s hand (K6=K626b/28).
>
> Other K. Nrs: K3= 159c, K6 = Anh. C17.12 and K626b/28
>
> Recordings: Nimbus (NI 5121) John Wallace Collection (Only Nrs 1-5, 7,9,10)
>
>
>
>
>
> K197 - Tantum ergo
>
> Composer: Unknown
>
> Remarks: Believed doubtful on stylistic and handing down criteria, but Münster (1965) believes likely authentic.
>
> Other K. Nrs: K3 = Anh 186e; K6 = Anh. C 3.05
>
> Recordings:
>
> · Naxos (8.553592) Bournemouth Sinfonietta, Michael Thompson, Horn and Director (has both Mozart and Süssmayr’s versions)
>
> · LaserLight (15874) Sebastian Weigle soloist (uses both versions)
>
> · DG (423277-2) David Jolley soloist
>
> · CBS (MK42324) Dale Clevenger soloist .
>
>
>
>
>
> K198 - Offertorium "Sub tuum praesidium"
>
> Composer: Unknown
>
> Remarks: First known in version for Soprano/Tenor, dated 1774. Later version for 2 Sopranos found. Doubt formed in 1932 when Offertory by Michael Haydn found with same beginning measures. K3 moved back to Milan 1773, believing for Tenor /Castrato there. In 1950s believed Mozart wrote his Offertorium after hearing Michael Haydn piece, redated work 1774 or later and believed 2 Soprano version authentic. K6 placed in Anh C, citing its similarity to M. Hadyn composition from opera “Pietas in Hostem” from 1767, which is same music as offertory listed above.
>
> Other K.Nrs: K3 = K158b; K6 = Anh C3.08
>
> Recordings:
>
> · Naxos (8.553592) Bournemouth Sinfonietta, Michael Thompson, Horn and Director (has both Mozart and Süssmayr’s versions)
>
> · LaserLight (15874) Sebastian Weigle soloist (uses both versions)
>
> · DG (423277-2) David Jolley soloist
>
> · CBS (MK42324) Dale Clevenger soloist .
>
>
>
>
>
> K221 - Kyrie in C
>
> Composer: Ernst Eberlin (1702 – 1762)
>
> Remarks: Leopold Mozart’s copy of Kyrie from Eberlin’s Requiem in C-major.
>
> Other K. Nrs: K3 = 93b; K6 = Anh. A 1
>
> Recordings: None
>
>
>
>
>
> K226 - Canon "O Schwestern traut dem Amor nicht"
>
> Composer: Unknown
>
> Remarks: Tune found in Athanasius Kircher’s “Musurgia” of 1650. Text provided by B & H for “Oeuvres Complettes” of 1804.
>
> Other K.Nrs: K3 = Anh 289d; K6 = Anh C10.02
>
> Recordings: None
>
>
>
>
>
> K227 - Canon "O wunderschön ist Gottes Erde"
>
> Composer: ??William Byrd (1543 – 1623)
>
> Remarks: The earliest known source of the music is a manuscript book copied out around 1620 to 1625 in England, where it has no words and no author indication. The Canon was printed in 1651 with the text “Non nobis, Domine, non nobis” in John Playford’s “Musical Banquet” and again in 1652 in John Hilton’s “Catch that catch can”—both times anonymous. In 1715 in a manuscript attributed to Thomas Morley appeared. First attributed to Byrd in John Christopher Pepusch’s “Treatise in Harmony” in 1730 and again by Matthesen in Hamburg in 1739, and has mostly continued to be attributed to Byrd since. However it is not included in the latest edition of that composer's complete works (1974). Mozart’s lost autograph (if actually an autograph) had been provided with text by B & H for 1804 “Oeuvres Complettes”.
>
> Other K.Krs: K2 = Anh 284b; K3 = Anh 109xii; K6 = Anh A31
>
> Recordings: None
>
>
>
>
>
> K233 - Canon “Leck mir den Arsch”/Nichts labt mich mehr”
>
> Composer: Wenzel Johann Trnka (1739 – 1791)
>
> Remarks: Appeared first in printing for 3 Voices by Trnka with Italian text “Tu se gelosa, e vero”. B & H had changed “improper” text they believed originated from Mozart.
>
> Other K.Nrs: K3 & 6 = 382d
>
> · Recordings:
> Philips Complete Mozart Edition v.23 as "Nichts labt mich mehr”
>
> · Tall Poppies (TP009) “Mozart Unexpurgated”–in English
>
>
>
>
>
> K234 - Canon “Bei der Hitz im Sommer”/”Essen, Trinken”
>
> Composer: Wenzel Johann Trnka (1739 – 1791)
>
> Remarks: Appeared first in printing for 3 Voices by Trnka with Italian text: “So che vanti un cor ingrato”. B & H had changed “improper” text they believed originated from Mozart.
>
> Other K.Nrs: K3 & 6 = K382e
>
> Recordings:
> Philips Complete Mozart Edition v.23 as "Essen, Trinken, das erhalt"
> Seraphim (S-60050 LP) "Comic Mozart" as "Essen und Trinken "
> Tall Poppies (TP009) "Mozart Unexpurgated" in English
>
>
>
>
>
>
>
> K235 - Canon for Piano
>
> Composer: Carl Philipp Emanuel Bach (1714 – 1788)
>
> Remarks: Canon appears in unresolved form in J.P. Kirnberger’s “Die Kunst des reinen Satzes in der Musik” attributed to C.P.E. Bach, as well as volume of Canons by J.G. Albrechtsberger. In this resolved form by ?Mozart?.
>
> Other K. Nrs: K2 & 3 = Anh 284e; K6 = Anh C10.17
>
> Recordings: None
>
>
>
>
>
> K268 - Violin Concerto in Eb
>
> Composer: Probably Johann Friedrich Eck (1766 – 1809)
>
> Remarks: First published in 1799. K1 dated it 1776, K3 thought 1780, K6 placed it in doubtful and spurious works. One theory has it as an incomplete draft started by Mozart that Eck completed, himself supplying the entire second movement. Thematic materials in the concerto appear to relate it to some of Mozart’s works from 1779, and Eck first met Mozart in 1780.
>
> Other K Nrs: K3 = 365b; K6 = Anh. C14.04
>
> Recordings:
>
> · Naxos (8.553592) Bournemouth Sinfonietta, Michael Thompson, Horn and Director (has both Mozart and Süssmayr’s versions)
>
> · LaserLight (15874) Sebastian Weigle soloist (uses both versions)
>
> · DG (423277-2) David Jolley soloist
>
> · CBS (MK42324) Dale Clevenger soloist
>
>
>
>
>
> K289 - Divertimento for 6 Winds
>
> Composer: ?Mozart?
>
> Remarks: Due to numerous stylistic deviations from Mozart, in addition to qualitative deficiencies, Uri Toeplitz doubts authenticity.
>
> Other K. Nrs: K3 & 6 = 271g
>
> Recordings:
>
> · Accent (8856) Octophoros
>
> · London (STS15377–LP) Jack Brymer
>
> · EMI (290994-3–LP) Consortium Classicum
>
> · Philips Complete Mozart Edition v.5
>
>
>
>
>
> K291 - Symphony (fugue) in D
>
> Composer: Michael Haydn (1737 – 1806)
>
> Remarks: Actually the last movement of a symphony by Haydn composed in 1781 with an opening Adagio added by Simon Sechter later. Mozart’s autograph contains 45 measures of Haydn’s work. The remaining 251 measures were not copied out. A version using the Adagio opening was completed by Sechter in 4-hand piano arrangement. The paper used by Mozart dates from 1783, so it is very likely that he saw Haydn’s original when they met in Salzburg in 1783 and made his copy at that time.
>
> Other K Nrs: K6 = Anh. A52
>
> Recordings: Vox Cum Laude CD (MCD 10025)—listed as Michael Haydn Symphony No. 23, Bournemouth Sinfonietta – Harold Farberman conducting
>
>
>
>
>
> K292 - Sonata for Bassoon and Cello in Bb
>
> Composer: ?Mozart?
>
> Remarks: Usually thought to have been composed for amateur Bassoonist Baron Thaddaus von Dürnitz. Due to poor compositional working, Uri Toeplitz believed is a work of a Mozart contemporary, or a Mozart imitation. Dietrich Berke (NMA-1974) expresses no doubts on stylicist grounds but first believed Sonata for Bassoon and Cello was “publisher’s choice” and possibly originally for 2 Bassoons. More recently he believes it could not be for 2 instruments but further parts missing—possibly a keyboard. Also he believes possible it is solo part and cello line for a Concerto.
>
> Other K. Nrs: K3 & 6 = 196c
>
> Recordings:
>
> · Philips Complete Mozart Edition v.10
>
> · MHS (703–LP) Hermann Stiedel & Josef Luitz
>
>
>
>
>
> K324 - Hymn "Salus infirmorum"
>
> Composer : Unknown
>
> Remarks: Köchel (following Jahn) believed a movement of a Litany BMV (as well as K325). Einstein placed in the Anhang believing copies of a cappella compositions of 17th Century or beginning of 18th century with Basso continuo added. Later Karl Fellerer believed probably copy of Quirino Gasparini work, as K327 turned out to be.
>
> Other K. Nrs: K3 = Anh.186a; K6 = K. Anh C3.02
>
> Recordings: None
>
>
>
>
>
> K325 - Hymn "Sancta Maria"
>
> Composer: Unknown
>
> Remarks: See K324
>
> Other K. Nrs: K3 = 186b; K6 = K.Anh C3.03
>
> Recordings: None
>
>
>
>
>
> K326 - Hymn "Justum deduxit Dominus", “O sancte”, “fac nos captare” in C
>
> Composer: Ernst Eberlin (1702 – 1762)
>
> Remarks: Study copy for 4-voices and Organ in Leopold Mozart’s hand of an Offertorium by Eberlin, originally for 4 Voices, 2 Violins, Viola, 2 Horns 3 Trombones, Organ. Here is omitted Soprano Aria that is 2nd section of Offertorium.
>
> Other K. Nrs: K3 = 93d; K6 = Anh. A 4
>
> Recordings: Abbey (LPB-773, LP) Sinfonia of St. Bartholomew
>
>
>
>
>
> K327 - Hymn "Adoramus te" in c-minor
>
> Composer: Quirino Gasparini (1725 – 1778)
>
> Remarks: Leopold Mozart’s copy of Gasparini’s motett.
>
> Other K. Nrs: K3 = Anh 109iii; K6 = Anh A10
>
> Recordings: Abbey (LPB 773, LP) Sinfonia of St. Bartholomew
>
>
>
>
>
> K340 - Kyrie
>
> Composer: Unknown
>
> Remarks: Manuscript thought to have once been in André’s possession, believed by Köchel to be autograph, but Einstein believed probably a copy. Köchel thought opening to a Litanie, Einstein believed a cappella composition of the 17th Century. Music never known.
>
> Other K: K3 = Anh. 186f; K6 = Anh C 3.06
>
> Recordings: None
>
>
>
>
>
> K342 - Offertorium "Benedicite angeli"
>
> See above K177.
>
>
>
>
>
> K350 - Song "Schlafe mein Prinzchen"
>
> Composer: Bernard Flies (1750 – ca. 1803)
>
> Remarks: The Cradlesong was once attributed to Mozart and issued under his name many times, including the Complete Mozart Edition of Mozart's works in the 1880s (AMA). The song was originally listed twice in Nissen's Mozart biography: issued in the supplement as complete, but is also cited in the Anhang section under Mozart's fragments. Nissen wrote of the song "…it is entirely Mozartish, naive, original and playful. It is here added as supplement.” However from a diary entry of Constanze Mozart/Nissen of September 27, 1828, it appears she had doubts on the song. Text used (by Johann Friedrich Wilhelm Gotter in his play “Esther”) written in 1789, but not published until 1795. In 1896 it was shown song to be a work of Bernhard Flies, to whom numerous copies and printings are attributed. However an earlier setting of the song by Johann Friedrich Anton Fleischmann (1766 – 1798)—possibly for the 1789 performance of the play—appears to have heavily influenced Flies.
> Ernst August Ballin concluded Mozart's authenticity was "…doubtful in the highest degree", but left the door open that the fragment cited in the Nissen biography could have come from Mozart.
>
> Other K.Nrs: K3 = Anh 284f; K6 = Anh C8.48
>
> Recordings: Intercord (120.898, LP) Ilse Hollweg
>
>
>
>
>
> K351 - Song "Komm, libe Zither"
>
> Composer: ?Mozart?
>
> Remarks: Constanze only refers to one Lied with Mandolin in her correspondence with B & H. No autograph ever known. Ballin doubted authenticity on musical grounds: believes possible melody originated from Mozart and another completed accompaniment.
>
> Other K.Nrs: K3 & 6 = K367b
>
> Recordings:
>
> · Naxos (8.553592) Bournemouth Sinfonietta, Michael Thompson, Horn and Director (has both Mozart and Süssmayr’s versions)
>
> · LaserLight (15874) Sebastian Weigle soloist (uses both versions)
>
> · DG (423277-2) David Jolley soloist
>
> · CBS (MK42324) Dale Clevenger soloist .
>
>
>
>
>
> K444-Symphony in G #37
>
> Composer: Michael Haydn (1737 – 1806)
>
> Remarks: Copy of symphony by Michael Haydn partly in Mozart’s hand, found in his papers after his death. Originally composed by Haydn in 1783; probably copied by Mozart when he was in Salzburg that year visiting his family, or shortly thereafter back in Vienna. Not an exact copy, as Mozart added a slow introduction and modified slightly some of the part writing.
>
> Other K Nrs: 425a = K3 & 6; as well K6 = Anh A53
>
> Recordings:
>
> · Naxos (8.553592) Bournemouth Sinfonietta, Michael Thompson, Horn and Director (has both Mozart and Süssmayr’s versions)
>
> · LaserLight (15874) Sebastian Weigle soloist (uses both versions)
>
> · DG (423277-2) David Jolley soloist
>
> · CBS (MK42324) Dale Clevenger soloist .
>
>
>
>
>
> K510-Nine Contredances for Orchestra
>
> Composer: Unknown
>
> Remarks: Originally thought to be connected to Mozart by an anecdote that he wrote out these Contredances in one hour for a Count in Prague. Koechel thought a Mozart autograph existed, but later found not to be. Headings and spellings not in Mozart manner. Music very un-Mozartian, even unskilled in parts.
>
> Other K. Nrs: K3 = Anh 293b; K6 = Anh C13.02
>
> Recordings: Supraphon (8023) Prague CO conductor Libor Hlavacek (Nrs. 1-4, 6-7).
>
>
>
>
>
> K514-Rondo for Horn and Orchestra
>
> Composer: Franz Xavier Süssmayr (1766 – 1803)
>
> Remarks: Completion by Süssmayr of incomplete draft of a Rondo started by Mozart. Dated “Good Friday 6 April 1792” though originally the date was read as “1797.” Süssmayr modified many sections and added more bars of material in his completion. Has been the standard version of the work for about 200 years; Mozart’s original version has now had completions made and been recorded.
>
> Other K Nrs: 386b = K6, (Also paired with K412 to make Horn Concerto #1)
>
> Recordings:
>
> · Naxos (8.553592) Bournemouth Sinfonietta, Michael Thompson, Horn and Director (has both Mozart and Süssmayr’s versions)
>
> · LaserLight (15874) Sebastian Weigle soloist (uses both versions)
>
> · DG (423277-2) David Jolley soloist
>
> · CBS (MK42324) Dale Clevenger soloist .